臺灣博碩士論文加值系統

本論文以1970年代台灣與南韓的「民歌（Folk）」為研究對象，指出流行音樂的在地化議題。本文特別分析與比較這段期間主要的兩種流行音樂雜誌，《滾石（台灣）》與《流行歌月刊（南韓）》，並顯示美國現代民歌如何各自在台灣與南韓在地化與變化，以及其原因。有關英美流行樂的在地化過程與當地聽眾的回應，這兩種雜誌對於英美流行樂及國內民歌音樂的「文化翻譯」可說是相當珍貴的資料。

在1970年代的台灣與南韓，民歌在年輕人中廣泛流行，成為新的音樂潮流並代表年輕文化的重要因素。過去英美次文化（Subculture）研究者曾經指出，（在都市的勞動階級男性）年輕人對於社會表現出有反抗性的態度，並且透過音樂及其他文化象徵來認同自己。但是在1970年代台灣與南韓以美國流行樂成為學習的榜樣與大眾追求的對象，因而在年輕人新的音樂圈中出現比較不同的態度與發展過程。

再者，儘管台灣與南韓經由不同的歷史並且各自擁有自己的流行樂發展過程，這兩者在1970年代流行樂及民歌音樂上卻顯示各方面的共同點。本文試圖說明其共同點及主要原因，包括威權主義政權下的政治局限，當時在青年概念上特殊概念化，以及英美流行樂的流入與當地聽眾的內化。

This research examines the issue of localization of popular music through folk music in the 1970s Taiwan and South Korea. Two representative pop music magazines in this period, Rock Magazine (Taiwan) and Monthly Pop Song (Korea), are examined and compared to show how the American folk as a genre was localized and modified, and what the possible reasons would be. The two magazines are valuable data which show how Anglo-American popular music was promoted and localized each in Taiwan and Korea. Furthermore, the publications contributed greatly to the construction of domestic pop scenes and connections between participants of the music scenes, not only promoting the pre-existing overseas popular music.

In particular, the magazines participated actively in the emergence of domestic folk scenes. Folk music was one of the most prevalent musical trends of the youths in the 1970s Korea and Taiwan, along with other genres of overseas-oriented popular music. Korean and Taiwanese youths participated in constructing new domestic folk scenes as audience, musicians, and workers in the music industry, arousing changes in domestic pop music environments. They adopted many musical elements in the American modern folk revivals, but domestic folk scenes were placed in different contexts from American ones. Specificities of Korean and Taiwanese folk come from the historical contexts of domestic pop scenes, as well as different mindsets of scene participants, which are shown through these two magazines.

As well as analyzing the publications, this research also tries to give an overview of popular music and the emergence of folk in Korea and Taiwan. The 1970s Korean and Taiwanese folk, as genres and scenes, were two separate phenomena in themselves. Still, this paper examined, compared and contrasted the two different cases together, starting from several notable common features of folk’s development in Korea and Taiwan. Multiple reasons, including political limitations under authoritarian regimes, specific socio-cultural conceptualizations of youth, and prevalence and internalization of Anglophone pop music, are mentioned as the reasons for similarities. At the same time, through investigating magazines and other related materials, this research also dealt how Korean and Taiwanese folk, which share the root of modern American folk, diverged under different domestic circumstances.

Acknowledgments..........ii
Abstract (English/Chinese)..........vi/viii
INTRODUCTION..........1
Discussing Popular Music in Korea and Taiwan through Magazines..........1
Monthly Pop Song and Rock Magazine..........6
Previous Studies..........9
Research Methods..........12
Chapter Descriptions..........13
CHAPTER ONE – Popular Music Scenes in South Korea and Taiwan..........17
Popular Music and ‘Pop’: Postwar Popular Music in Korea and Taiwan..........17
Categorizing Popular Music in South Korea and Taiwan..........21
Folk Music as Scenes..........30
CHAPTER TWO – Monthly Pop Song and Rock Magazine..........37
Outline..........37
Editors, Writers, and Readership..........40
Translation of Anglo-American Popular Music..........45
Development of Korean and Taiwanese Folk..........49
Role of Pop Magazines in Making New Scenes..........56
CHAPTER THREE – Issues and Legacies of the 1970s Folk Scenes..........69
Issues and Debates of Korean and Taiwanese Modern Folk Scenes..........69
Political Restriction and Limitations on Scene-making..........73
Specific Conceptualizations of ‘Youth’..........83
Prevalence and Internalization of Anglo-American Pop..........87
CONCLUSION – A Synchronic View of East Asian, Cold-war Popular Music..........93
Non-English Names and Terms..........102
Bibliography..........105

1. English Materials
Bennett, Andy. 2007. “As young as you feel: Youth as a discursive construct.” In Youth Cultures: Scenes, Subcultures and Tribes, 23–36. New York: Routledge.
Breese, Wally. “Biography: 1968-1970 Emerging Popular Artist.” Joni Mitchell. 1998. Accessed January 25, 2018. http://jonimitchell.com/library/view.cfm?id=2041.
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Fuhr, Michael. 2016. Globalization and Popular Music in South Korea: Sounding Out K-Pop. New York: Routlege.
Hebdige, Dick. 1979. Subculture: The Meaning of Style. London; New York: Routledge.
Ho, Tung-hung. “The Social Formation of Mandarin Popular Music Industry in Taiwan.” PhD diss., Lancaster University, 2013.
Kim, Pil Ho, and Hyunjoon Shin. 2010. “The Birth of "Rok": Cultural Imperialism, Nationalism, and the Glocalization of Rock Music in South Korea, 1964-1975.” Positions-East Asia Cultures Critique 18 (1): 199–230.
Lin, Zhen. 2012. “The Definition and Maintenance of US Interests in Taiwan after World War II.” In China-Taiwan Relations in a Global Context : Taiwan''s Foreign Policy and Relations, edited by C. X. George Wei. 62–74. Routledge Contemporary China Series. New York: Routledge.
Mitchell, Gillian. 2007. The North American Folk Music Revival. Aldershot, UK: Ashgate Pub. Company.
Shin, Hyunjoon, and Seung-Ah Lee, eds. 2017. Made in Korea: Studies in Popular Music. New York, NY; Abingdon, Oxon: Routledge.
Shin, Hyunjoon, and Tung‐Hung Ho. 2009. “Translation of ‘America’ during the early Cold War period: a comparative study on the history of popular music in South Korea and Taiwan.” Inter-Asia Cultural Studies 10 (1): 83-102.
Straw, Will. 1991. “Systems of Articulation, Logics of Change: Communities and Scenes in Popular Music.” Cultural Studies 5 (3): 368–88.
Weintraub, A. N. 2008. “Dangdut Soul: Who are ‘the People’ in Indonesian Popular Music?” In Entertainment Media in Indonesia, edited by Richard Fox and Mark Hobart. 60–80. London; New York: Routledge.
Yoon, Kyong. 2017. “Postcolonial Production and Consumption of Global K-Pop.” In The Korean Wave: Evolution, Fandom, and Transnationality, 109–28. Cambridge: Lexington Books.
Yoshimi, Shunya. 2003. “‘America’ as desire and violence: Americanization in postwar Japan and Asia during the Cold War.” Translated by David Buist. Inter-Asia Cultural Studies 4 (3): 433-50.

2. Chinese Materials
“1955-1970 Songs Flowing out of Square Boxes 1955-1970 四方框裡流洩的歌.” 2011. Episode 2. Listen to the Songs of the Times 聽時代在唱歌. Taiwan Public Television Service 台灣公共電視.
Ding Xiao-wen 丁曉雯. 2012. Our Music Classes: Remembering Campus Town 1983-1993. 我們的音樂課：記大學城1983-1993. Taipei: Shizhou Wenhua 時周文化.
Chang, Chao-wei 張釗維. 2003. Who is Singing Their Own Songs over There: History of the Development of Taiwan''s Modern Folk Song Movement 誰在那邊唱自己的歌：台灣現代民歌發展運動史. Taipei: Rock Publications 滾石文化.
Chen, Szu-Wei 陳峙維. 2017. “Two Interesting Stories of Chinese Popular Music and Japan: The Origin of ‘Popular Songs’ and Shanghai Mandarin Songs that ‘Could Not Return Home’ 華人流行音樂與日本的兩段趣史：「流行歌」 的由來、「回不去的」上海灘國語歌曲.” The News Lens 關鍵評論, May 14, 2017. https://www.thenewslens.com/article/67993.
Han, Kuo-huang 韓國鐄. 1979. “Where Does this Music Come from? To where Will It Go? 這陣樂風從何來？怎麼吹？” China Times 中國時報, April 4.
Ho Tung-hung. “The Social Formation of Mandarin Popular Music Industry in Taiwan.” PhD diss., Lancaster University, 2013.
Ho, Tung-hung 何東洪, and Chang Chao-wei 張釗維. 2000. “The Development of Mandarin Popular Industry and Culture 戰後台灣「國語唱片工業」與音樂 文化的發展軌跡一個徵兆性的考察.” In Culture Industries in Taiwan 文化產業：文化生產的結構分析－台灣產業研究, edited by Chang Li-yun 張苙雲, 145–220. Taipei: YLib 遠流.
Hou, Chi-jan 侯季然, and Ru-Xian Xiong 熊儒賢. 2012. Video Recordings of Interviews with Senior Musicians [54] Johnny Chung-Yu Tuan and Antonio Lee 資深音樂人口述歷史 影音紀錄. [54] 段鐘沂、李達濤. Taipei: Department of Cultural Affairs, Taipei City Government.
Lee, Hsing. dir. 1981. The Land of the Brave 龍的傳人.
Liu, Xiao-mei 劉曉梅. 1977. “We Cannot Stand Mimizhiyin Anymore: Modern folk Pioneers New Way 靡靡之音讓人受不了：現代民歌開創新風格.” United Daily News 聯合報, December 14.
Lo, Lou-Zhia 羅珞珈 et al. 1968. “The Development of Hit Music in Taiwan, 1956-1968 台灣熱門音樂發展史 1956-1968.” Today Pictorial 今天畫報, 1968.
Ma, Shih-fang 馬世芳 et al. 2015. Temporal and Spatial Maps of Folk: Special Booklet on the 40th Anniversary 民歌四十時空地圖紀念專刊. Taipei: Ministry of Culture 文化部.
Pai Ching-Jui, dir. 1972. Love in a Cabin 白屋之戀.
Tao, Cora 陶曉清, ed. Singing Our Own Songs: Songs of This Generation-Songs of Spring 唱自己的歌－這一代的歌：春天的歌. Taipei: Huangguan Zazhishe 皇冠雜誌社, 1979.
Tao, Cora 陶曉清, ed. Singing Our Own Songs: Songs of This Generation-Songs of Summer 唱自己的歌－這一代的歌：夏天的歌. Taipei: Huangguan Zazhishe 皇冠雜誌社, 1980.
Tuan, Su-pei 段書珮. 2011. Rock Records: Album Cover Arts Since 1981 滾石30 : 1981-專輯全記錄. Taipei: Rock Publications 滾石文化.
Wang, Chun-mei 王淳眉. “Making Genre: The Geneology Between "Pop" and "Rock" of Mandarin Popular Music In Post-War Taiwan, From "Rock Record", "UFO Record" to "Crystal Record". 製作類型：戰後國語通俗音樂「流行曲」與「搖滾樂」的系譜考察，從「滾石」、「飛碟」到「水晶」.” MA Thesis, National Chiao Tung University, 2016.
Wang, Chun-mei 王淳眉, Ho Tung-hung 何東洪, and Chung Ah-han 鍾仁嫻. 2015. “We Need Our Own Songs! - The History of Remen Yinyue in Taiwan 「我們要有自己的歌！」──臺灣的熱門音樂發展史.” Gushi.tw 故事. June 26.
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Wawa 瓦瓦. 2016. “Taiwan''s Music Magazine that Covered Queen and Aerosmith 40 Years Ago 40年前 Queen、Aerosmith曾登上的台灣音樂雜誌.” Xin Music 欣音樂. September 6.
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Yang, Edward, dir. 1991. A Bright Summer Day 牯嶺街少年殺人事件.
Yu, Li-Ching 喻麗清. 1978. “Folk Songs and the Modern Age 民歌與現代.” China Times 中國時報, June 4.
Zhang Qing-Ping 張清平. 2005. “Gunshi and Johnny Tuan: Doing the Best Music 滾石段鐘沂：做最好的音樂.” Brand Mantra 品牌真言, Sina 新浪網, March 21.

3. Korean Materials
“The Unfinished ’70 – A Trip to Cultural Fields 미결 ’70 문화계 순례.”Kyunghyang Shinmun 경향신문. April 23, 1970.
“Youth Culture is Misleading 청년문화 오도되고있다.” Kyunghyang Shinmun 경향신문. May 7, 1974.
“Vinyl Records 레코드판.” Maeil Business Newspaper 매일경제, September 8, 1966.
An Kyung-suk 안경숙. 2004. “‘From Pops Koreana to Oimusic – Examining Korean Music Magazines on the 14th Anniversary of ‘Hot Music’ ‘팝스 코리아나’부터 ‘오이뮤직’까지 – ‘핫뮤직’ 창간 14주년 특집 한국 음악지 점검. ” Media Today 미디어오늘, November 10.
Choi, Kyu Sung 최규성. 2013. “[The Place of the Times] (24) The Center of 1970s Youth Culture ‘House of Tree Frogs’ [문득 돌아본 ‘그때 그곳’] (24) 70년대 청년문화의 중심 ‘명동 청개구리의 집’.” The Munhwa Il-Bo 문화일보, August 30.
Choi Su-Mun 최수문. 2016. “Order of Cultural Merit for ''Day of Magazines'' goes to Lee Mun-Se ‘잡지의 날’ 문화훈장에 이문세씨.” Seoul Economic Daily 서울경제, November 1.
Choi, Yu-jun 최유준. 2013. “Tears of Lee Nan-Young 이난영의 눈물.” The Research for Korean Historical Figures 한국인물사연구 20: 335–64.
Exhibition catalog, Asian Diva: the Muse and the Monster 아시아 디바: 진심을 그대에게, Buk Seoul Museum of Art, Seoul, Oct 8 2017.
Han Wan Sang 한완상. 1974. “Youth Culture Should Be Creative 청년문화는 창조적이라야.” Kyunghyang Shinmun 경향신문, May 22.
Kim, Changnam 김창남. 1986. Kim Min-Ki 김민기. Seoul: Hanul 한울.
Kim, Hyeong-chan 김형찬. 2015. A Walk to Popular Music History in Korea: Crucial Moments of the 1960s-70s Popular Music 한국대중음악사 산책: 1960~1970년대 대중음악의 결정적 장면들. Seoul: Alma 알마.
Kim, Hyunmee 김현미. 2005. Globalization and Cultural Translation 글로벌 시대의 문화번역. Seoul: Alternative Culture Press 또 하나의 문화.
Kim Sun-Ae 김선애. 1974. “Singing Youth: Acoustic Guitar Groups Get Too Much Attention on TV 「노래하는 젊음」 통기타 그룹 TV 등서 너무 부각시켜.” Kyunghyang Shinmun 경향신문, Feb 23.
Kim, To-il 김토일. 2012. “Could Popular Music Develop Like This Without ''Street Billboards?'' ‘길보드’ 없었으면 대중음악 이만큼 클 수 있었을까.” Media Today 미디어오늘, March 14, 2012.
Lee Baek-cheon 이백천. 2014. Lee Baek-Cheon''s Musical Tour: Acoustic Guitars, C''est Si Bon and the 50-Year History of Folk 이백천의 음악여행: 통기타, 세시봉, 포크 50년을 말하다. Seoul: Namibooks 나미북스.
Lee, Herim Erin 이혜림. 2005. “The Formation of 1970s Korean Youth Culture: Focusing on the Cultural Consumption of Popular Music 1970년대 청년문화구성체의 역사적 형성 과정 - 대중음악의 소비양상을 중심으로.” Social Issues 사회연구 2: 7–40.
Lee, Jun-Hee 이준희. 2007. “Continuance and Change of Korean Popular Song in 1950s 1950년대 한국 대중가요의 두 모습, 지속과 변화.” Journal of Popular Narrative 대중서사연구 13 (1): 73–104.
Lee Ki-Hoon 이기훈. 2017. “The Age of Youths: History of the Youths in the 20th Century 청년의 시대: 20세기 젊은이들의 역사.” Exhibition catalog, The Portrait of Youth 청년의 초상, National Museum of Korean Contemporary History, Seoul.
Lee, Mun-Se 이문세. 2016. “FEATURE: Testimonies of Lee Mun-Se (Final) FEATURE 이문세 증언록(최종).” Magazine Journal 매거진저널, June.
Lee, Young Mee 이영미. 2006. History of Popular Music in Korea 한국대중가요사. Seoul: Minsokwon 민속원.
Lee, Young Mee 이영미. 2011. Singing C’est Si Bon, Seotaiji and Teurotu: Lee Young Mee’s Popular Music and Generations 세시봉, 서태지와 트로트를 부르다: 이영미의 세대공감 대중가요. Seoul: Durimedia 두리미디어.
Munseok 문석. 2011. “[Editorial] The Moment Magazines Become Part of Life [에디토리얼] 잡지가 삶이 되는 순간.” Cine 21 씨네21.
Oh Kwang-Su 오광수. 2012. “[Icons and Memories] All of a Sudden I remembered the DJ [아이콘, 그때 그 시절]오늘은 왠지~ 그 DJ 오빠 보고 싶어라.”Sports Kyunghyang 스포츠경향. April 23.
Park, Key-young. 2003. “Plantation and Independence : Development and Completion of Korean Modern Folk Music 이식 그리고 독립; 한국 모던포크 음악의 성립과정(1968~1976년).” Thesis. Dankook University.
Shin, Hyunjoon 신현준. 1997. Nine Branches of Rock Music 록 음악의 아홉 갈래들. Moonji Publishing Company 문학과지성사.
Shin, Hyunjoon 신현준. 2005. The Archaeology of Korean Pop Music in the 1960s. 한국 팝의 고고학 1960. Paju: Hangilart 한길아트.
Shin, Hyunjoon 신현준. 2005. The Archaeology of Korean Pop Music in the 1970s. 한국 팝의 고고학 1970. Paju: Hangilart 한길아트.
Shin, Hyunjoon 신현준. 2013. “A Contribution to the Construction of Korean Pop - Popular Music and Places in Mobile Seoul 1976~1992- 한국 팝의 ‘건축학’을 위하여－이동하는 서울의 음악적 장소들 1976~1992－.”SAI 사이 14: 601–33.
Shin, Hyunjoon 신현준, and Viriya Sawangchot 비리야 사왕초트. 2009. “Public Musical Spaces and the Cultural Politics of ''Purity/Decadence'' - The Rise and Fall of Youth Culture in the 1970s Cold-War Korea and Thailand 음악적 공공 공간과 ‘순수/퇴폐’의 문화정치(학)―1970년대 냉전기 한국과 태국에서 청년문화의 출현과 종언.” In Cultural Landscapes of Cold-War Asia 2 냉전 아시아의 문화풍경 2, 433–70. Seoul: Hyunsilbook 현실문화연구.

4. Personal Interviews
Chang, Meng-jui 張夢瑞. December 21, 2015; January 9, 2016.
Suh Soo-Nam 서수남, August 22, 2016.
Tai, Zhao-Mei (May Tai) 邰肇玫. January 7, 2016.